The Stone Carvers Essay

The Stone Carvers Essay-33
After some weeks, and without permission, Klara sculpts Eamon's face on a key statue on the memorial, the torchbearer, symbolizing all of the young men who lost their lives.Despite his initial anger, the designer, Walter Allward, sees amazing carving skills within Klara, and how the portrait of the young man's face increases the much desired allegory for those youthful men who were lost in the war.

After some weeks, and without permission, Klara sculpts Eamon's face on a key statue on the memorial, the torchbearer, symbolizing all of the young men who lost their lives.Despite his initial anger, the designer, Walter Allward, sees amazing carving skills within Klara, and how the portrait of the young man's face increases the much desired allegory for those youthful men who were lost in the war.

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Upon learning of the construction of the Vimy memorial, the elaborate monument dedicated to the lost soldiers without a known grave, Klara becomes determined to travel to France with Tilman to work on it.

After overcoming her brother's reluctance they travel to France and start work on the monument, Klara disguised as a man.

The background story of Father Gstir and the church construction is loosely based on the construction of the church in Formosa, Ontario.

A carver imposes a shape on stone, and must be able to do so reliably and in a manner that can be duplicated. One is a more “artistic” definition, written by a professional stonecarver.

In her youth, Klara falls in love with the silent son of an Irish family, Eamon O'Sullivan.

Eamon does not stay in her life for long, as he leaves to fight in World War I with plans to fly an airplane and come back a hero.This, along with the use of many character's various experiences with Vimy Ridge and World War I, Urquhart articulates the idea of memory and history being a "process" where "the meanings of past events continue to change as time progresses." explained as a relationship between generations where the later generation is "transmitted" memories from the previous generation by way of stories, etcetera; however, these memories resonate deeply within the subsequent generation so that they feel like they have experienced it themselves.Post-memory within The Stone Carvers is evident from the very beginning as Urquhart outlines "The nuns and the one spinster clung to the story, as if by telling the tale they became witnesses, perhaps even participants" in the creation of Shovenal.However, the narrative then rewinds to when Klara and her brother Tilman were children.Here we learn that they are the grandchildren of Becker who tries to pass on his carving skills to his grandson.However, the boy is reluctant and unenthusiastic; suffering from wanderlust, Tilman is unable to stay in the same spot for long, and often runs away from the small town.When Tilman reaches 12, his mother is overcome with the stress of losing her child over and over again, resulting in the use of some unorthodox ways to keep him to Shoneval, including literally tying him down.Ultimately deciding it enhances the monument, Allward keeps the alteration.While working alongside Tilman's friend Giorgio, Klara falls in love with him, and for the first time since Eamon's death she opens up her emotions.He eventually meets up with a tramp named Refuto, who had left home because he felt guilty for indirectly killing his brother.Later, Refuto decides to try returning home, fearful that his family will not forgive his wrongs.

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